Category Archives: CIEP membership

10 etiquette tips for editors

Editor Jennifer Glossop recently shared her top ten etiquette tips for editors with the Toronto CIEP local group. Here, Katherine Kirk details those tips, and explains why they’re in that top ten.

The Toronto CIEP local group invited Jennifer Glossop to speak about author–editor relationships. A guest speaker at the 2018 and 2019 Toronto mini-conferences, Jennifer has worked as an in-house and freelance editor for over 35 years, has taught editing and has written a number of children’s books.

The Toronto group generously invited non-locals to join, and it was an absolute pleasure to learn from Jennifer. I had put her tips into practice within 24 hours! Jennifer shared with us her finely tuned (but ever-evolving) list of etiquette rules for editors:

  • Make a good first impression.
  • Communicate often and promptly.
  • Put it in writing.
  • Praise the author and the work. Criticise only the work.
  • Be sincere and honest.
  • Know when to give in and do so gracefully.
  • Don’t be afraid to ask stupid questions.
  • Avoid the temptation to lecture.
  • Keep your feedback helpful.
  • Remember whose work it is.

Though some of these tips may seem obvious to experienced editors, Jennifer says it’s often the obvious things that we forget about, and that’s when we get into trouble.

1. Make a good first impression

Whether meeting in person or online, Jennifer reminds us that first impressions last forever. She suggests finding a personal connection with the author, so that you can see each other as people rather than as red marks on a page. We should show an understanding of and enthusiasm for the author’s work. Let them know we are in their corner and be excited to work with them.

Even if you have no knowledge at all of the subject they’ve written about, you can turn that into a strength by saying you’re coming to it without any preconceived ideas or prejudices. Jennifer also points out the impact of a professional website as a first impression, and she encourages us to emphasise our experience on it.

Once you’ve connected with the author and gained their trust in you, you need to help them trust the process, and the best way to do that is by ensuring that they understand the timeline, stages of editing, what to expect from you and what they are responsible for. Freelancers should make sure the scope of work is clear and agreed upon by both parties, and this is the time to discuss payment.

Finally, you need to find out about the author’s vision and goals for the book, and to do so, you need to listen to them and ask them questions. This will guide you in the type of feedback you give them. Get on the same page about the manuscript; this can also avoid disasters later, like the editor thinking the book is a tragedy when the author intended it as a comedy.

2. Communicate often and promptly

It’s important to be reachable, stay in touch and meet deadlines. This is a basic courtesy and Jennifer didn’t dwell on it, but the CIEP’s Code of Practice expands on it, saying, ‘A fundamental requirement in the good handling of any material is to raise major queries without delay and other minor queries in batches as convenient to all concerned’. (COP 5.3.2a)

Be sure to define your boundaries and politely affirm them if necessary.

3. Put it in writing

Back in the day, Jennifer would discuss the job on the telephone, and post letters to clients. She tried always to keep a written record of what was discussed on the telephone, since our memories can’t be trusted. These days, email makes everything a lot easier, but she says the same principles in writing those letters apply.

She recommends the ‘praise sandwich’ approach for written communication, as it can soften the blow of criticism and make the author more willing to act on it. The filling of the sandwich should not be only criticisms, but rather explaining what you did, and what you expect the author to do next.

Jennifer also recommends sending longer communication like editorial reports as attached documents so that they are more easily referenced and don’t get lost in the inbox.

4. Praise the author and the work. Criticise only the work

There is no such thing as too much praise, and even if it feels saccharine or artificial when you’re writing it, if you are being sincere and honest, and use it properly, it can be a very powerful editorial tool. Writers crave praise, and it will soften the criticisms.

Criticism can feel very personal when it relates to sensitivity issues. Jennifer suggests framing those queries from the reader’s perspective and recommending an authenticity read if necessary. It helps to remind the author of how wide (and how diverse) their audience might be, and why using conscious language is important.

5. Be sincere and honest

Editors should not lie to authors or make empty promises about their potential for publishing success. That said, you can stretch the truth a little and tell authors their writing is a little better than it is.

Jennifer says, ‘Honest criticism is the greatest gift you can give. Clear and well-thought-out criticism is useful. Criticism for the sake of saying something can be damaging.’ Editors who want to master the art of querying might want to sign up for the CIEP’s new course.

6. Know when to give in and do so gracefully

Jennifer adds, ‘Even if it’s through clenched teeth.’ Choose your battles and if the hill of the serial comma is not worth dying on, let it be. It’s not your book.

7. Don’t be afraid to ask stupid questions

Jennifer says that sometimes editors need to take on the responsibility of being the ‘designated idiots’ in order to fully understand the text and make it clear for the readers who come after us. She cautions us to be careful how we phrase our questions so that they are specific and useful.

8. Avoid the temptation to lecture

Although Jennifer has spent many years teaching us to edit, and many of us have been teachers at some stage in our lives, she reminds us that we are here to edit, not to teach the author. She recommends letting the author come to you with questions where they need clarity, but generally keeping explanatory notes brief and sticking to what is necessary.

Your client might not need to know the difference between a dependent and independent clause, or they might not care. Don’t come across as a ‘tutting school marm’ or condescending.

9. Keep feedback helpful

There are three types of feedback someone can give, Jennifer explains. The first is appreciation, which we might expect from friends. The second is evaluation, which we get from reviewers or examiners, and which can feel demeaning. The third, which editors should strive for, is coaching, where you tell the author what’s wrong, how to fix it and praise them for doing it well.

Jennifer suggests avoiding telling an author to do something beyond their ability or against their wishes. She also suggests breaking your feedback down into a logical and manageable sequence of steps, and helping the author to navigate it, especially for developmental or structural edits.

Jennifer usually starts her feedback with a phone call, as she believes that editing should be a dialogue between author and editor. She sometimes teaches authors techniques for processing the information she’s given them.

10. Remember whose book it is

Remind yourself that this is the author’s book, not yours, and never put your own ideas, jokes or voice into it. It is their book, and they might have spent years creating it, so be sensitive towards them and the text.

Saying ‘this is not my book’ doesn’t mean giving up on doing the best job you can; you’re still a part of its creation, and that should be enough for you to care about doing the work properly.

If you laid out the scope up front, didn’t make assumptions or have expectations about the text, and got everyone on the same page about those expectations and responsibilities, then your role will be clear and you can make the writing shine within the limits of your brief.

Some authors like to acknowledge editors for the role they play in bringing the text to life, by mentioning them in the acknowledgements or in the front matter. Jennifer says this is up to the author and editor to negotiate, but it’s fine to say no and ask for a testimonial or referral instead.

Wisdom sharing

Jennifer’s advice focuses on putting the person first, and encourages us to see the human behind the words we’re editing. It was amazing to be able to pick the brain of someone with so much experience, and yes, we did gush profusely about Margaret Atwood’s The Handmaid’s Tale, which Jennifer edited.

I left the meeting with a fullness in my heart at the thoughtfulness that informs her editing, and the generosity of editors who are willing to teach each other and help the whole profession grow. The CIEP’s local and international groups are a great space for sharing editorial wisdom, and they’re well worth a visit.

About Katherine Kirk

Katherine Kirk is a fiction editor who has lived all over the world, including China, South Korea, Ecuador, and Morocco, and she’s not done yet. She works on all types of fiction for adults, especially Science Fiction, Fantasy and Literary Fiction. She is a Professional Member of the CIEP.

 

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credit: Answers by Hadija Saidi on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

Meet our members: Leona Skene

We want you to meet our members, so we’ve asked some of them a few questions, and have found out how they started their editing career, and what they love about their work. In this post, Intermediate Member Leona Skene tells all.

Why did you choose an editorial career, and how did you get into it?

I’ve always known that I wanted to work with words and language. As a child, I was an enthusiastic reader, and I chose to study English & Scottish literature at university. I then went on to gain a certificate in Creative Writing.

It became apparent that I wasn’t ever going to become a famous novelist, and so I went on to work in unrelated fields for a number of years. After a career break to have my children, I realised that my strengths actually lay in editing and polishing other people’s work, not in creating my own.

I undertook training with the CIEP (then SfEP) in 2015. I then worked on ad hoc freelance projects, along with a regular gig as sub-editor of an events magazine, until January 2021, when I launched my own business, Intuitive Editing.

What training have you done to get your editorial career up and running?

I completed the CIEP’s Proofreading 1 and Copyediting 1 courses, and I’ve attended several useful webinars through ACES: The Society for Editing. I’m committed to further CPD through the CIEP: I completed Word for Practical Editing earlier this year, and am looking at Efficient Editing: Strategies and Tactics as my next step.

What work are you most proud of?

I take pride in all my editorial jobs, but I’ve worked on a few projects where I’ve been able to give specific advice on the Scots language, along with Scottish culture and identity. I do feel really proud of that.

What do you do if you’re struggling on a job?

I usually step back, have a bit of a breather, and try to regain perspective. I often ask for advice from colleagues in the Editors of Earth Facebook group; they’re a great bunch, with many CIEP members involved. And the editing community on Twitter is very helpful.

What does being a member of the CIEP mean to you?

Being a CIEP member is immensely important to me. Becoming a freelancer essentially means you’ve magicked up a career for yourself out of thin air – this can be wonderful, but the flip side is that it’s easy to let imposter syndrome get the better of you. There’s no line manager to provide feedback; nobody to tell you if your decisions are good ones or bad. The CIEP provides that all-important backbone of training, support and professional accreditation. I couldn’t have started my business without that.

Which editorial tasks do you enjoy the most, and why?

I love doing the first pass of an editorial job: getting the feel of the text, absorbing the author’s voice, making notes of any immediate issues that jump out. There’s a little thrill in entering the ‘world’ of a book for the first time and seeing the difference you can make to it.

Do you have any editorial pet hates?

Comma splices. My editing style is quite relaxed, but there’s something about those cheeky little baddies that rubs me up the wrong way. All comma splices are annihilated with extreme prejudice.

What has most surprised you about your editorial career?

The variety. As a relatively new editor, I’m still in the process of finding my niche and deciding which area to specialise in. I’ve been lucky enough to work on historical fiction, children’s fiction and YA, sci-fi and fantasy, and creative non-fiction. I’ve learned so much along the way, and I’m still learning!

What’s the best career advice you’ve received?

‘Under-promise and over-deliver.’ Don’t promise the world; be conservative and realistic about the service you can provide within a specific timeframe. It’s quite likely that you’ll deliver the project a little earlier than stated, which is always a nice thing for the client.

What advice do you have for people starting out on an editorial career?

I’d say that professional training is a must. It’s great to have a natural talent for spotting typos, but there’s stuff you just won’t learn unless you study it properly. Or possibly you will learn it, but it’ll take much longer.

I would recommend looking at the CIEP’s course directory or that of another recognised provider, such as the PTC. If you’re not at the stage where you want to commit to training, it’s worth joining a few Facebook or other social media-based editing groups – these can give you a general feel for the type of work editors do on a day-to-day basis. Another fantastic resource for newbie editors is Louise Harnby’s website – Louise has loads of information and how-to guides for both editors and writers.

Do you ever stop editing?

Absolutely never. I’m editing in my sleep at this point!

Finally, tell us one thing about you not related to editing

I lived in Italy for two years, and although my spoken Italian is now woeful, I still have strong feelings about pasta, pizza and the proper time of day to order a cappuccino. It’s a morning drink!


Want to meet more of our members? Head over to the Meet our members page.


About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: open books by lil_foot_; Scotland by bummelhummel; cappuccino by gadost0, all on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

Forum matters: Going green – how we can all play our part

This feature comes from the band of CIEP members who volunteer as forum moderators. You will only be able to access links to the posts if you’re a forum user and logged in. Find out how to register.

In this article, one CIEP forum member looks at what our forums have taught us about being environmentally friendly at work and at home, and interviews Caroline Petherick, who posts on the forums regularly about sustainability, to glean her recommendations for reducing our carbon footprint.

The environment is a hot topic at the moment with the recent publication of the Intergovernmental Panel on Climate Change (IPCC) Working Group’s report, which UN Secretary-General António Guterres called ‘code red for humanity’. With this sobering fact in mind, many people are trying to reduce their carbon footprint. There are many ways to do this, and some have been discussed on the forums.

At work

Want to use the most planet-friendly printer? Want to find out some options for recycling your old computer or recycling printer cartridges? What do you do with printed manuscripts* after you’ve edited them? Last but not least, here’s some information on the correct terminology to use when editing environment-related texts.

*You’ll need to be registered for the fiction forum to see this post.

At home

Many of us feel powerless in the face of the climate crisis. But, from adding solar panels to our homes to protesting against plastic pollution, there’s a lot we can do as individuals. Why not take part in Earth Hour Day, which is every 26 March? Would you like to find out how to live a zero-waste lifestyle? Find out more here. Finally, read how Wall Street is taking action on the climate crisis.

Helping nature

Are you keen to help butterflies and protest again the use of harmful neonicotinoids for growing sugar beet? Or do you want to find out more about keeping bees, which are essential for pollination on Earth?

Since many of these posts were started or contributed to by Caroline Petherick, we asked her for her views.

Caroline, over the years you have posted a lot on the forums about sustainability, bringing our attention to important topics such as the recent IPCC report, plastic pollution and Earth Hour Day, and you wrote a CIEP blog about the climate crisis in 2019. The environment and the future of our planet are clearly important to you. What do you think is the most pressing issue facing us today?

CP: The consequences of the current Western-style political system, based as it is on short-termism. This results in the lack of political will to introduce regulations relating to a swift enough reduction in (a) the corporate addiction to fossil fuels, and (b) the appallingly rapacious production methods of foods and goods, to get us anywhere near the Paris Agreement. We need not only to introduce those regulations but also to enforce them.

It will, I reckon, only be when enough people put enough pressure on their governments to implement the measures, and to police them effectively, that politicians’ fear of losing their jobs will subside enough to allow them to take appropriate, effective action.

Most people can’t afford the capital costs required to become fully sustainable – such as electric cars, heat pumps, etc. We need bulletproof funding to kick-start these life-saving systems.

The trouble is that when/if politicians do implement and enforce appropriate regulations (as opposed to emitting their current greenwash), it looks as though it will be far too late – unless some sort of hitherto unforeseen climate step change happens.

What measures do you take to live as sustainably as possible?

CP: I believe it’s important not to get diverted into taking individual responsibility to a degree that lets the politicians and corporations off the hook. We need to put pressure on politicians to act. Having said that, there are some things you might like to consider doing as well:

  • recycle everything you can, and reuse items where possible
  • become vegetarian, or at least eat less meat
  • eat locally produced food
  • use a local organic veg-box scheme
  • have your supermarket shopping delivered
  • use your car only when absolutely necessary
  • turn off lights in empty rooms, and check that nothing’s been left on stand-by
  • buy second-hand clothes. Avoid fast fashion
  • line-dry your washing when possible. Only use the tumble drier when you have to
  • use Ecover and similar detergents, soaps, hand washes and toiletries
  • let your grass grow! Have you heard of No-mow May? Why not try that? See what kind of insects and other wildlife you can attract
  • bank with an ethical bank
  • only switch on your central heating when you have to. Until then, layer up!

If you could give CIEP members one piece of advice for being more environmentally friendly, what would it be?

CP: Get on yer bike – your lifestyle and fitness permitting – for any journey under 3 miles each way. It’s a triple whammy: you’ll get much fitter, your body will stay warmer in winter (so you can turn down the heating), and you’ll emit far fewer pollutants.

Find out more

To find out more about the climate crisis, why not check out or support organisations such as Greenpeace, Friends of the Earth, Amnesty International, Toilet Twinning, TreeSisters, the National Biodiversity Network, the RSPB, the Woodland Trust, the Marine Biological Association, Plantlife, WaterAid, Rainforest Rescue and Save the Whales?

Following organisations such as the National Oceanography Centre, the Marine Conservation Society, the Met Office and the National Oceanic and Atmospheric Administration will also help you stay informed about the climate.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: garden by Mathis Jrdl; nature computer by Niclas Illg, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

The 2021 CIEP conference: The chair’s opening remarks

Returning to its usual early September slot, the CIEP’s annual conference stayed online in 2021. Over 370 people attended from time zones across the world, with speakers in the UK, Australia, Argentina, Canada and the United States. Recordings of all sessions have been made available to attendees, so it truly was a bumper offering for everyone. Summaries of all sessions will be published on this blog over the coming weeks.

CIEP chair Hugh Jackson closed the 2020 conference with moving words, and many of us had tissues at the ready as he opened this year’s.

Hello and welcome back to the CIEP conference. Another year has passed, summer is slowly turning to autumn, and it is my absolute joy to be able to see you all again. Of course, to some people I’m not saying welcome back but welcome for the first time. We’re so very pleased you could make it. This year, I’d like to extend a special welcome to members of our partner organisations; I very much hope you will enjoy the experience of conference.

Right now, if all had been well, we would have been basking in the bright warm sun and cloudless skies of Glasgow in autumn. We should have been gathering in excitement in a conference room, sitting next to strangers who will soon become friends, and grasping pastries and mugs of steaming coffee – or, as Beth describes them, disappointing beverages. We would have shaken hands and hugged, and long into the night we would have talked and laughed. While we might have been in one place, though, we wouldn’t all have been together, because many of our friends and colleagues have only been able to come to conference these last two years because it has been online. When we board planes or trains, or get into our cars for long drives to another city again for an in-person conference – and I promise we will do – we will have to find a way to do so as one body, bringing everyone along with us and leaving nobody behind.

There’s something special about our conference. It would be easy to say that it’s all about the learning or about the social interaction – and those are top-notch, by the way: if you’re here for the first time, you should know you’re in for a real treat – and it’s not simply that the people you meet here at conference are just plain nicer than people you meet everywhere else – which is also true – but I think it’s something more than that. I’ve been to plenty of conferences, and I’m sure you have too, that have had all those elements but haven’t had that something special, that buzz of excitement, that crackle of activity that you get here. I’ve been wondering what it is, how to explain it, and I think it’s this. Once a year, we get to come together and not only is there brilliant learning and socialising and lots of lovely people, but we’re also reminded that we’re a vital part of something bigger than ourselves, a mission with a history that was here long before us and will thrive long after we are all gone. A profession that spans the continents and unites us in our delight in something so simple but so powerful as the written word, the careful arrangement of dots of ink on paper or pixels on a screen.

I left you last year with the thought that, whatever happened over the following year, whatever struggles we’d have as a profession, we’d weather them together. I’ve never been so proud of being a member of this community as I have been this last year, because of how well I’ve seen you all come together. I know it’s not been easy, and I fear it might stay difficult for some time, in any number of ways. I can’t promise broad, sunlit uplands, and no responsible speaker would. The road ahead is also not yet obvious. But when so much closed down in spring last year, editors kept on going. In the absence of theatres, galleries, concerts, sports events and schools, the need for that power of the written word felt desperately important, whether that was the enormous quantities of new research, scientific and social, trying to make meaning out of what at times felt senseless and plotting a course through to the light ahead, or new human stories that, indeed, tried to do exactly the same thing. Book sales rocketed, because people needed to read but also to write, to express new feelings and fears and hopes and understandings that they hadn’t had before. When things became bleak, people instinctively reached out for the power of the word, and you were there to make sure it was the right word. Thank you.

But where did we go? Where did we take refuge when our professional lives became difficult? When our businesses went quieter? When we couldn’t see our friends? When our families refused to have another flaming conversation about some funny typo we found in a newspaper? But also when we were just starting a business in the middle of a pandemic and needed to know how to get that first client, finish that first training course, make that first cold call to a publisher? What happened when our words failed us? Where did we go then? We came here, to be together. And the CIEP and its members have been here throughout, with kindness, authenticity and hope. When the world closed down, we opened up. All of this is to say, whether I’m saying to you welcome or welcome back, what I’m really saying is welcome home. You’ll be glad you came. And it’s my great privilege to declare the conference open.


The CIEP conference takes place every year, and in 2020 and 2021 the whole event was online. Plans are afoot to make the 2022 conference an in-person and online hybrid event.



About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Posted by Abi Saffrey, CIEP blog coordinator.

The CIEP’s Environmental Policy Working Group

It’s the Great Big Green Week, so it seems like the perfect time for Robin Black to introduce us to the members of the CIEP’s Environmental Policy Working Group (EPWG).

It’s a funny thing being part of our Institute’s working groups. Editors, subduing their own opinions frequently in service to the client, are either by nature or by practice disinclined to be seen telling people what to do. We may work out our persnicketiness in the limited realms of spelling, punctuation or syntax, where ‘It depends’ is superseded by ‘You don’t want to look silly’.

In the virtual professional space of the Environmental Policy Working Group, attended by a handful of circumspect editors, we are prone to figuring out the brief and then rising to the occasion; making individual contributions in small doses; listening; anticipating objections; and bringing to the table healthy amounts of self-doubt.

But is that enough? Given the scale of the climate crisis and how late we all are in addressing it, the challenge can’t be left to the experts and crusaders. It certainly can’t be left to the governments. John Robinson, one of many lead authors on the most recent IPCC report, says that the notion of sustainability jobs doesn’t hold up; rather, there will be no careers left without sustainability dimensions.

And so our humble working group has developed an environmental policy for the CIEP. Will it work, whatever that means?

Oh, boy. That’s a doozy. Some of you have been out on the streets to demand change; some of you have honed important lines of communication to get the message out; some of you feel that everything will be fine. We like the idea of reaching the membership, wherever you’re sitting, with these questions. We are just CIEP members ourselves, after all.

How did we, the members of the EPWG, get here?

Martin Walker, outgoing CIEP organisational director, incoming EPWG chair

When I was in the sixth form at school, I asked a friend what career he had in mind. He wanted to be an ‘ecologist’. That was a completely new word to me, so he told me about books like Rachel Carson’s Silent Spring and about emerging environmental movements like Friends of the Earth and the Sierra Club.

That conversation 50 years ago sparked a lifelong interest in environmental matters. The publication a year or so later of EF Schumacher’s influential Small Is Beautiful: A Study of Economics as if People Mattered was another big step in my environmental education. That interest has led me to take some practical steps over the years to reduce what we now call my environmental footprint, including cultivating organic gardens and an allotment for over 40 years.

We can all do better, of course, and the CIEP can play its part by reducing the organisation’s environmental impact. It can also play an important role by offering practical advice to its members on how to run their own businesses in as environmentally friendly a way as possible. Members of a community of over 3,000 people will also have many ideas and practical suggestions to share that other members can adopt and benefit from.

Not enough has been done to change over the last 50 years or so of environmental awareness, so the world is now facing its greatest crisis because of global warming and the over-exploitation of the earth’s resources. The adoption of the CIEP Environment and Energy Policy is a small but important first step for the organisation and its members.

Sally Moss, EPWG chair Mar–Sep 2021

In my application to join the EPWG, I said I was keen ‘to help the CIEP formulate an environmental policy that is both ambitious and workable, and to support members to embrace and advocate for regenerative practices in their working lives and beyond’.

I also outlined my three decades of environmental activism, from badgering people in the streets of Liverpool with an eco-survey in my mid-teens (I wonder if any of my victims recall that early climate alarm call?), through arts-based initiatives such as an experimental Permaculture Surgery, to more recent efforts to incorporate my passion for savvy ecological practice into my editorial work.

We are without doubt in a critical era for humankind, and a liveable future depends on our collective actions now. We need nothing less than system change. So many of the stats are bleak, but what keeps me going is the knowledge that nature is powerful: every positive contribution will harness a profound regenerative force. So let’s see what we can do!

Jo Johnston

I was a young child when my awakening to environmental justice happened as I cried at images of the Ethiopian famines during the Live Aid concerts.

Fast forward to 2000 and one of my first jobs for an NGO was to write a guide to climate ‘change’ (before that term was replaced by ’crisis’) which pulled data from the UN Intergovernmental Panel on Climate Change reports. Approval of this complex project was given by the atmospheric physicist the late Sir John Houghton. Among the hardest projects I’ve ever worked on, it is one I am proud of – but also haunted by: we’re still talking about the same issues.

‘There’s no planet B.’ This rallying cry sums up why I jumped at the chance to be part of the EPWG.

It’s one small way to channel eco-anxiety, but I also hope that the EPWG can inspire our members, other freelancers and businesses. It’s governments and corporate change that will make the biggest difference to the environmental crisis through policy change, but it’s our voices, actions and words that keep up the pressure.

Christina Petrides

I first became aware of the problems we face while in secondary school, back in the early nineties. The voices of environmental activists were beginning to multiply as the world grappled with new science and the occasional cataclysm. It was hard not to notice.

After studying environmental science at university and working in the sector for nearly 20 years, I switched to freelance editing and writing.

I’ve never been an activist myself. While louder voices are essential for raising awareness, change should also be brought about through practice. Working with businesses to implement change is, in my view, one of the best ways. Many organisations want to be seen to be doing the right thing and to differentiate themselves from the competition. Those of us on the inside have continued to encourage, cajole and push them to lead the way. It is now no longer a differentiator but a requirement.

Occasional cataclysms have become regular occurrences, and we are dealing with a brave new world. The CIEP called on volunteers to develop an ambitious environmental policy and to support its members in the same. The opportunity was right up my street, and I got my application in straightaway!

Robin Black

In the pages of Dark Mountain, the writer with druidic tendencies John Michael Greer tapped on the fragile glass of my assumptions with ‘the recognition that the universe is indifferent to human beings, not sympathetic, not hostile, not anything, and that it’s really rather silly of us, all things considered, to expect it to conform to our wishes …’. In other words, no truism is in place to stop life on Earth from getting really, really bad. The melted ice of the climate crisis poured through my now-broken glass; it hurt, and I was scared.

Armed with an editor’s overdeveloped sense of responsibility at seven years old, I’d been recycling and turning off lights since then, just as they taught us when the school board sent speakers to our classrooms with age-appropriate information about the environment, street drugs and rabies(!). But personal responsibility was never going to get us out of this mess, and governments still aren’t behaving like it’s an emergency, which it is. Given the mismatch between the urgency and government action after all these decades, I am not an optimist about our chances.

Melanie Thompson

Energy and buildings are in my blood. Growing up in Sheffield, a focal point of the Industrial Revolution, we learned at infant school of the city’s long history of metalworking and how important the local wood and coal supply was to the revolution. Amid the power cuts, industrial strikes and oil crises of the early 1970s, we knew well of the smog and pollution of industry; while the strangeness of the shifting seasons and the occasional dramatic flood fed our Yorkshire folklore.

I almost gave up undergraduate physics, but modules in quantum mechanics and chaos theory rekindled my interest, and after graduation I set off on my goal to help scientists communicate their research. The ‘hole in the ozone layer’ was in the headlines, and collective international action stepped in to tackle it. As part of a youth delegation to NATO, I heard scientists warn of mass migration as one of the many consequences of ‘global warming’.

I ultimately found my favourite editorial home in what was then the UK government’s Energy Efficiency Best Practice unit, working on documents about saving energy in buildings, as well as energy and environmental policy. I’ve worked in the ’green’ sector ever since, for several high-profile national and international bodies, focusing more in recent years on international action on climate change.

I was very keen to join the CIEP’s working group and do my bit to help others do theirs. It’s even slightly easing my frustration that it’s taken so long to get this crisis up the global agenda, despite decades of scientists (and their editors) banging on about it.


Have you made changes to reduce your impact on the environment? Would you like to know more about what changes you could make? Let us know in the comments.

June 2023: The EPWG has now paused its work until mid-2024. If you’d like to be involved in the group when it reconvenes, please contact Abi Saffrey, information director: .

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: ice by Derek Oyen; it’s not easy being green by Markus Spiske on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

When publishing contacts move on, and how to keep moving as a freelance editor

Leena Lane reflects on the importance of career moves and development – for freelance editors and for the people they work with – and focuses on thoughts regarding:

  • career paths
  • choosing freelance or in-house
  • networking
  • benefits of CIEP membership

I often take 15 minutes before starting work, especially on Mondays and Fridays, to scroll the news headlines across both current affairs and updates within the publishing world.

Posts which can make me both joyful and wistful at the same time are the ‘I’ve got news’ tweets. An individual who has been my main contact at a publishing house is making a career move to another company or is going freelance themselves. This has happened twice since COVID-19 hit and is no real surprise as people reflect on their lifestyle and commute, their career path, or just feel the need for change.

Despite working remotely as a freelancer, and having shared the stress of many deadlines and also those punch-the-air moments of success, I often come to regard these clients as ‘colleagues’ of a sort. When they move on, it stirs up conflicting thoughts and feelings.

Sadness

I’ll miss them! They’ve been great to work with and a friendly contact over many years. Sometimes I’ve known them start as the newbie enthusiastic/stressed editorial assistant, move up within the company to assistant editor, commissioning editor, and then move away to be editorial director.

Excitement

I’m genuinely pleased for the individual – their skills, character and contribution have been recognised and rewarded. They’ll be fabulous at their new position.

Trepidation

In the past, losing a personal contact has sometimes meant losing regular work with that company – how can I prevent that happening this time? How can I make contact with their replacement? How can I shine out from the pool or list of freelancers they’ll see on arrival, and how can I cultivate relationships with a wider team at the same company?

Opportunity

New doors to push? As they move on, might they be able to use my services within their new company, or introduce me to someone who will? Time to polish the website, Twitter profile, CIEP Directory entry, LinkedIn profile, etc, and prepare for some self-marketing.

Wistful reflection

After ‘slowing down’, even just for a year, in terms of career-focused work to start a family, it can be challenging to make it back to where you hoped to be. Relatively few publishers offer part-time or job-sharing as a serious option for key editorial roles.

Though many people appear to succeed and ‘do it all’, a long commute, high childcare costs and having no family locally made a full-time in-house position increasingly difficult for me. I started freelancing to bridge this phase of life until I could find the right in-house role again, but it has quietly turned into a more permanent path.

There have been many pros:

  • the rich variety of clients and projects
  • flexibility
  • focus groups in my own house (aka lots of bedtime stories, Middle Grade critiques and YA rejections)
  • focus groups in my community (aka being a primary school governor and seeing what parents, teachers and children are really reading, needing, thinking).

There have also been some negatives:

  • missing that buzz from being part of a regular team
  • lonely moments
  • erratic income at times
  • and a few regrets:
    • Should I have tried to get promoted one more level before having kids?
    • Should I have taken less parental leave?

Constructive reflection

As a freelancer, how have I still tried to progress in my career?

This is where the CIEP has been instrumental in keeping me on track and also in strengthening my resolve that being a freelancer can be just as fulfilling and valid for me as being an in-house editor.

Since joining, and upgrading twice, I’ve come to appreciate this group of editing professionals more each year: some on a similar path juggling career and family; some going freelance to provide variety they perhaps couldn’t find within just one publishing company; others continuing to work in-house − all striving to provide excellent editorial service within the industry.

One fantastic resource to guide career progression is the new CIEP Curriculum for Professional Development which details what editors and proofreaders need to know, and how they can acquire that knowledge.

In lockdown I’ve finally met up with my regional group, albeit on Zoom, and have bounced ideas around and received some really valuable tips and advice from both new and experienced members. The CIEP’s annual conference – online in 2020 and 2021 – is a wonderful opportunity to meet with editorial professionals, to learn and to laugh.

As I turn back from news-scrolling to my current project, I congratulate those moving on and progressing in their career in publishing, especially those who are, only now in 2021, finding chinks of fairer access and representation – there’s still so much more to be done. Within the community of the CIEP, I feel challenged to stay alert and fresh in my own career.

About Leena Lane

Leena Lane is a Professional Member of the CIEP  and is a member of its Berkshire local group and Run On. Leena provides editorial services to publishers and authors, specialising in children’s Middle Grade and Young Adult books. She’s committed to making stories more representative for all young readers.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: signposts by Javier Allegue Barros; doors by Robert Anasch, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

‘Non-native’ and ‘native’: Why the CIEP is no longer using those terms

EDI director Luke Finley and community director Vanessa Plaister explain why the CIEP is calling time on the terms ‘native speaker’ and ‘non-native speaker’.

What’s the problem?

The phrases ‘native speaker’ and ‘non-native speaker’ are still common in our field and related areas such as translation and ESL teaching. But there’s a strong argument that they are unhelpful at best and that at worst they perpetuate assumptions about language competence that have an exclusionary effect.

The CIEP has been keeping up to date with that thinking. Increasingly, those of us writing as the CIEP have instead used more precise phrases. Now, we’ve decided to make that decision formal: the CIEP style guide will ask its authors not to use ‘native’ and ‘non-native’ to differentiate English speakers according to where they’re from, where they’re based or which variant of English they use.

Why are we doing this?

Whether we mean to or not, when we identify someone as ‘non-native’ we relegate them to an ‘out-group’ – we other them. And, beyond geography, the word has possible connotations about what else that person is excluded from, including rights, status and language.

Boosting belonging

Does an accident of birth make a language – particularly when that language has myriad global variants – inherently more ours than someone else’s?

Many of us would answer ‘no’ – yet when we don’t consciously reflect on it, it’s all too easy to position those Englishes hierarchically or competitively. British and US English vie for first place based on their respective histories; Australian, Irish, Canadian, New Zealand and South African English follow on closely – and the rest straggle along at the back. It’s no coincidence the winners in that race are mostly majority-white, ‘Western’ nations – the nations that colonised and imposed English on the others, or the ones in which those colonisers settled.

Sharing ownership

In fact, while we may consciously reject vehemently the idea that English language competence is tied to racial identity (or presumed racial identity based on skin colour), it’s worth reflecting candidly on the mental picture that forms when we use the words ‘native English speaker’. Even if you genuinely think of someone from the Punjab, the words can act as a dog whistle to others who think they know what you really mean. And that’s an unacceptable risk in the context of the CIEP’s global membership.

If it ever did – because it is a language formed over centuries of global influences – English no longer belongs inherently to one geographical community. It’s the language of global communication, spoken fluently by more people than any other. And that fluency can come from acquiring English as a first language or from learning it more formally.

Challenging assumptions

As all editors learn, being fluent in a language is far from enough to make you a good editor. Significantly, those who learn it as a second or other language often have a better, more systematic understanding of its grammar and how to describe it than those who’ve used it all their lives. And while fluency may imply that a person has a more instinctive way of choosing their words, a larger vocabulary and a comfort with slang or idiom, is that necessarily always an advantage? These things may make a language richer, but they don’t necessarily allow us to communicate clearly, quickly or as widely as possible within a global marketplace.

What’s the alternative?

As is so often the answer: it depends.

When we see the words in context, we will think about what our writers really mean.

In many cases, the solution may be to refer to people using English as a first language or as a second or other language.

But even then, this might be tied up with an ill-founded hierarchy of competence – with assumptions about who can speak, and edit, English effectively. Perhaps we mean simply a multilingual author or someone still learning the language. Perhaps we’re talking specifically about the linguistic foibles or needs of that individual.

Or it could be that the phrase just marks out the subject as someone from a different background to the writer. In such cases, it may be that not only the words ‘native’ and ‘non-native’ but the distinction itself is unnecessary. In those instances, we might decide instead to delete the words.

In short, the terms ‘native’ and ‘non-native’ are imprecise, potentially racially loaded and fraught with issues of ownership and power – of who gets to define what is a ‘good or bad’, ‘correct or incorrect’, use of a language. This is why, as an association of members centred in the UK but spread across the world, those of us responsible for positioning the CIEP securely within that global editing community have decided to stop using them.

About Vanessa and Luke

Vanessa Plaister has been the CIEP’s community director since 2018. Luke Finley became the CIEP’s first equality, diversity and inclusion director in early 2021.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credit: globes by Duangphorn Wiriya on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

Forum matters: Editorial terminology: Grammar, inclusivity and meaning

In this article one CIEP forum moderator looks at discussions of terminology in the CIEP forums:

  • What is terminology?
  • Grammar terminology
  • Look it up!
  • Hold on – what is copyediting?
  • Being inclusive
  • Niche knowledge
  • Just ask!

What is terminology?

Terminology. Definitions. Vocabulary. Jargon. The meaning of things. The official definition is ‘the body of terms used with a particular technical application in a subject of study, profession, etc.’ (Lexico). This term can definitely be applied to editing, which has a marvellous lexicon of editing terms, such as widows, orphans, ligatures, en dash, justify, leading and kerning, which new editors may puzzle over.

Grammar terminology

It’s very common to know instinctively that something ‘looks wrong’ when you’re editing, but you may not have the knowledge of grammar terminology to be able to confidently say what is wrong, and why*. Perhaps you weren’t taught formal grammar at school, or perhaps you learned about grammar a long time ago and your skills are rusty. The new CIEP Getting to Grips with Grammar and Punctuation course is designed to give students the skills, terminology and confidence to be a better editor.

This confusion is not helped by the fact that many grammatical terms are known by more than one name: is it a gapping comma or an elided comma? An adverbial or adjectival phrase? A dangling participle or a dangling modifier? And what’s it called when you start a sentence with ‘so’ – and why is it so common today?

And for the last word in terminology? The CIEP proofreading and copyediting courses include access to a Resource centre which contains – among many other useful documents – a glossary of all the publishing and editorial terms you will ever need, from ‘abbreviation’ to ‘Word template’. There’s also a glossary in the back of New Hart’s Rules – my go-to style guide. For fiction editors, MH Abrams’ and Geoffrey Harpham’s A Glossary of Literary Terms will come in useful.

*You’ll need to be registered for the fiction forum to see this post.

Look it up!

One of the skills that it’s essential for an editor or proofreader to master is knowing when to look something up, knowing where to look it up, then actually looking it up and applying the answer to the text they’re working on. The forums can be super useful for this too.

Not sure whether to use ‘who’ or ‘whom’? See ‘who/whom – going cross-eyed’.

Do verb tenses make you tense? Then see ‘Please help with some technical jargon’.

Hold on – what is copyediting?

One of the questions editors and proofreaders are asked most often is: what is copyediting? What is line editing? What’s the difference between them? Unfortunately, there is no one universally accepted definition of these terms. Some people think that they are very different beasts, while some people think they are the same thing. And what about proof-editing? What does that involve – and where do you draw the line?

The most important thing is that editors and proofreaders tell clients clearly what service their project needs, and list the tasks they will carry out on a job. That way, there’s no confusion. For more guidance on this, see What is proofreading? and What is copyediting?

Being inclusive

It’s not just editing terminology we need to consider. We also need to think about the words we use around disability, age, ethnicity, culture and sexuality. These are always changing, and editors and proofreaders must keep up with these changes.

Threads on these topics come up a lot on the forums – here’s a selection you may like to read. I guarantee that you will learn something!

A thread on ‘What is a female-headed household?’ led to a passionate discussion on terminology, as did threads on ‘Is “pro-poor” the best term to use?’, ‘Is the phrase “Black, indigenous and people of colour” acceptable?’, ‘People of colour’ and one on the best wording to use around mental health.

I especially enjoyed the thoughtful discussion on these threads on sexist terms and whether or not we should refer to master copies, which referenced a session on sensitivity issues in a recent Cloud Club meeting.

Finally, one thread contains some helpful suggestions for resources around inclusive language.

Whichever words you choose to use, remember this: ‘Your words have power. Speak words that are kind, loving, positive, uplifting, encouraging, and life-giving’ (unknown author).

Niche knowledge

Of course, discussion on the forums isn’t always serious. There are plenty of light-hearted threads too, such as these on betting, butterflies and bridges.

And if you want to tell someone you’re a copyeditor without telling them you’re a copyeditor, is there any better way than to enquire: Should liturgical Latin terms be set in italic?

Just ask!

As ever, the forums are wonderfully diverse resources of all kinds of knowledge. If you want to know the answer to something, and you’ve tried looking in your library of style guides, editing guides and reference books, then ask on the forums. Someone is bound to know.

This feature comes from the band of CIEP members who volunteer as forum moderators. You will only be able to access links to the posts if you’re a forum user and logged in. Find out how to register.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: typesetting tools by Etienne Girardet; Welcome by Belinda Fewings on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

Wise owls: Where do your clients find you?

We asked our parliament of wise owls, all Advanced Professional Members, where new clients have found them, and where they focus their marketing efforts.

Liz Jones

My clients mostly find me via word of mouth, repeat business, the CIEP Directory, my website, LinkedIn and Twitter. Repeat business is probably the most important one from a financial point of view, and it’s one reason that I make sure to treat all my clients the way I would want to be treated – by offering clear communication, reliability and dedication to the work. Twitter can seem like a massive distraction at times, but I’ve forged some good working relationships on there.

I’ve also found clients in person, by approaching them at local networking events or at the CIEP conference. The thought of marching up to people and asking for work can seem intimidating, but when approached as more of a conversation around shared interests, it’s less scary. Since I rebranded at the end of last year, with a new website, I’ve had more enquiries that way – and blogging helps with this, by making me more findable.

Finally, I try to keep in touch with clients and former work colleagues via LinkedIn, which means that even if they move jobs, we remain connected. The key to all of this is that I don’t expect my clients to find me in just one way – there need to be lots of possible ways, to ensure a steady flow of work.

Sue Littleford

The short answer is through two main routes: my CIEP Directory entry cropping up in their searches, and people asking their friends for recommendations. Seriously – work towards upgrading to at least PM level as your directory entry will be worth its weight in gold. Or it will, once you’ve tweaked it. You’ll easily notice on the forums those members who have a steady stream of the work they like to do – check out their directory entries to see what’s working for them, especially those in the same kind of market as you. Keep your directory entry updated – put a recurring appointment with yourself in your diary to make sure you do!

I take the view that my work is an advert in itself. I’ve had people recommending me to their friends and colleagues up to five years after I worked for them. So always treat each job as having the potential to win you new clients, as well as making the immediate client a happy bunny.

Shameful confession time: I’m a reluctant marketer, and I’ve also let my website get old and tired. This summer it’s getting a complete overhaul, so I hope that I will be able to drive more traffic through the site and convert that traffic into interesting new clients. I’m also pants at social media, but I’ve set my sights on putting more into LinkedIn to get more out of it, as I reckon that’s where my kind of client is most likely to be hanging out.

Louise Bolotin*Louise Bolotin

I’m a strong believer in making it as easy as possible for clients to find you, either deliberately or by happy accident, so I spread myself widely across the internet to facilitate that. Apart from my website, I have listings on six professional databases – including the CIEP’s (which brings in a reasonable amount of work). Two of those have never produced even an enquiry, but that’s OK – I maintain the listings as they help keep me visible across search engines. One database has produced only one enquiry over a decade – in January this year, resulting in a two-year project after one phone call (a happy accident).

Then, of course, there’s good old word of mouth. I’m lucky, I get a lot of referrals. In the past six months alone, I’ve had three clients come to me via recommendation. One of those came via a previous client; the other two were from colleagues in a related profession.

But I don’t like to coast, so I keep my website updated (with the occasional blog post to push me up the search rankings), ditto my database listings, and I try to network on various platforms. My current best client did a shout-out on Facebook and, one Zoom call later, I got a long-term job. I’ve had other jobs via Facebook groups plus a couple via LinkedIn and I once landed a client via Twitter. I’m not very active on Twitter but in a quiet spell I’ll tweet to say I have some spare capacity. Eighteen months ago, I joined two Slack groups – one of those also generated a regular client.

Lastly, I started a newsletter in September 2020 – it offers advice and writing tips, among other things. While it’s yet to generate any work for me, it’s another place to find me and I see it as one more way to connect with people generally.

Nik Prowse

I have a website, a profile on LinkedIn and a CIEP Directory entry. Those are the three places my clients will find me. My website acts like an online CV, and it’s where people look once they’ve found me to get more information. I keep it up to date and fresh-looking. I’ve just had it rebuilt, and it’s now easy to view on a mobile device (my old site wasn’t) and is more visible on Google as a result.

My profile on LinkedIn points to my website, as does my CIEP entry, and this arrangement brings in offers of work. In terms of searching, a CIEP Directory search will probably put me in front of more potential clients than if they search ‘copyeditor’ on Google, and I’ve had plenty of work via the CIEP/SfEP over the years. So the Directory is my most lucrative marketing tool. But the combination of the three promotes my visibility online, and if people are trying to find me, they can.

I’m also on Twitter, but my potential clients – academic/educational – aren’t likely to be looking for editors on Twitter, so it’s more a social thing and for networking with other editors.

Sue Browning

Where do my clients find me? Snowballing, that’s where! What on earth do I mean by that? Let me give an example. Back in December 2015, I began editing for a Japanese linguist. It wasn’t a huge amount – around half a dozen journal/conference papers a year – but on some of those papers she had a co-author, who subsequently became a client in their own right. And they recommended me to others, so over the years, my client base of specialist Japanese (and now Korean) linguists has snowballed to eight, all over the world. And I’ve found that this is typical, particularly of academics in specialised fields – once they find someone they trust, they stick with you and recommend you to their colleagues.

So, I’ve been trading for 16+ years and have the luxury of being able to fill my schedule with work from repeat clients or recommendations. Where does that leave you, the person who has come here hoping to learn how clients might find you? Well, how did that Japanese client find me?

A fellow CIEP (SfEP then, of course) member passed my name to her when they retired. They had scoured the CIEP Directory (hint 1), and I stood out because I’d listed the required specialism (hint 2), and they recognised me from my forum presence (hint 3). My website also brings me enquiries (hint 4). Although it is woefully passé looking, its very personal nature (hint 5) obviously strikes the right tone with some people, many of whom are ideal clients that complement those I get from more academic circles.

Oddly enough, in a world where I often work globally, the local seems to be important too (hint 6). A fiction author whose fifth book I am currently editing explicitly mentioned keeping his money in the local economy when he first got in touch, and a new business client I gained last month chose me because I was ‘over the hill’, referring not to my age but to the fact that I live on the other side of the Malvern Hills from him!

The importance of an online presence

Perhaps it’s no surprise that each of the wise owls above has a strong online presence. A CIEP Directory entry, a LinkedIn profile and perhaps a Twitter presence sit alongside a professional website. And once those clients have tracked down an editor they like working with, recommendations can really expand that editor’s reach, and the demand for their services. Where do potential new clients find you? Let us know in the comments below.

Starting out or keeping going

Whether you’re just starting your editorial business, or you’re well established, there are plenty of CIEP resources to help.


*Louise Bolotin died in October 2022; her contributions are much missed.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: owls by Zdeněk Macháček on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

The CIEP Curriculum for Professional Development

The CIEP’s training director, Jane Moody, has been working closely with directors, tutors and the wider membership to create a curriculum for professional development. In this post, Jane explains:

  • why we need a curriculum
  • what that curriculum covers
  • how the curriculum works.

Do we need a curriculum?

Yes, we do! Most professional organisations have a set of skills and knowledge that you need to understand or at least know something about to call yourself a professional in their area. Some test their members on this set of skills (physiotherapists and accountants, for example) before they can call themselves members of their professional body. All expect their members to refresh their skills and learning against this skill set periodically. Continuing professional development, CPD, is expected of all members, no matter their status in the organisation, and this is true of copyeditors and proofreaders as well.

We, as editors and proofreaders, now also have a framework of study – the CIEP Curriculum for Professional Development.

What does it cover?

At first glance, you might think that you won’t need to know about everything in the curriculum. Have a closer look, though. Any publishing professional needs a basic grounding in publishing ethics and law – even if you only scratch the surface, you should at least know something about the moral rights of authors, plagiarism and copyright. If you work as a freelance editor/proofreader, you are running your own business, so you need to know something about keeping records, what HMRC needs to know about you, and how to work efficiently. You will have your own equipment, so a basic knowledge of how to manage your files and keep them secure is essential for your own and your clients’ peace of mind. That takes you to the end of Domain 1 of the curriculum: Working as a professional.

You may be working in-house in a company and, if so, there will be some aspects of business management and practice that may not be immediately relevant to you. The knowledge in this area will, however, be useful to most members working in our profession today.

Even if you never work for a ‘traditional’ publisher with an editorial department, a production department and a marketing department, you will need to understand the basics of a publishing workflow. There are good reasons why some tasks are done before or after others. The more you understand about the industry and its processes, the wider your client base can be and the more useful you can be to your clients.

Working with words means that you need a good knowledge of the English language and its mechanics, and how different people, groups and organisations use the language. You need to be able to judge whether something makes sense, is clear and appropriate for the audience, and to be able to raise queries with an author or client in a concise and sensitive manner.

How you work is critical to getting repeat business – do a good job and you may pick up a regular client; do what you think you need to without learning about how and why and you are not likely to be asked for a second date. The nuts and bolts of copyediting and proofreading processes have been refined over many decades and, no matter who you work for, understanding what you are doing, who for and why matters if you want to do the best job you can. And now you are at the end of Domain 2.

Not all editors/proofreaders will use all the skills and knowledge included in these two domains of the curriculum in their day-to-day work. Nevertheless, as you grow in skills and experience, you are likely to want to broaden your awareness of publishing processes and the breadth of publishing outside your initial comfort zone. Developing your knowledge and acquiring a broad range of skills are essential CPD.

Some people prefer to remain as ‘generalists’, working for many different clients in several genres and subject areas. If this is true for you, you may never need to consult Domain 3. Others like to specialise, some in traditional areas where there is a body of specialist publishing, such as medicine, music, fiction or the law. Each of these specialist areas has its own conventions, specialist knowledge and terminology. Domain 3 covers a few of these specialisms and others will be added – if there is a specialism that you think should be included, copy the template at the start of Domain 3 (page 28), fill it in and send it to the training director.

How it works

Each domain of the curriculum is set out in columns. The first column divides the domain into detailed topics. The second column shows the competencies, professional skills and attitudes expected of a professional copyeditor/proofreader for this topic, and the third lists some resources to support learning in this area. Eventually, there will be a fourth column, which will list the ways in which a copyeditor/proofreader can demonstrate their competency in this area – a test pass or other kind of assessment, perhaps. This is an aspiration for the future.

We hope that you will contribute to keeping the curriculum alive. Have you taken a course that helped to expand your knowledge and skills? Have you come across a book or other resource that is really useful to you in your practice? Do tell the training director about it.

Download the curriculum now

About Jane Moody

Jane has worked with books for all her working life (which is rather more years than she cares to admit), having started life as a librarian. She started a freelance editing business while at home with her two children, which she maintained for 15 years before going back into full-time employment as head of publishing for a medical Royal College.

Now retired, she has resurrected her editorial business, but has less time for work these days as she spends much time with her four grandchildren and in her garden.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: book stacks by by Lysander Yuen on Unsplash; cogs by Gerd Altmann on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.